Sunday, March 12, 2017

Classics: A Review of Chicago By Lauren Ennis

Drugs, alcohol, adultery, celebrity, and murder; these
are just some of the elements of a hot selling headline in 2017. Before you
start bemoaning the state of modern society just yet, however, these same
elements make up a tale of debauchery and decadence set nearly one hundred
years ago. Inspired by the frenzy surrounding two real life murder cases, the
2002 hit movie musical Chicago
cleverly satirizes the mores and media of the roaring twenties in a way that
highlights the darker aspects of our own celebrity centric age. Part escapist
journey into the most sordid of the ‘good old days’ and part eerie glimpse into
our own present, Chicago is a film
with just enough razzle dazzle to leave you begging for more.

The slammer never looked so sexy

The story begins with bored housewife Roxie Hart
(Renee Zellwegger) witnessing the arrest of local nightclub sensation Velma
Kelly (Catherine Zeta-Jones) while out on the town with her lover, Fred Casely
(Dominic West). Later, when she realizes that Fred has no intentions of
fulfilling his promise to help her break into show business, Roxie follows in
Velma’s footsteps and shoots him to death. After her attempt to disguise the
murder as an act of self-defense fails to impress the police, she finds herself
on ‘murderess row’ in Cook County Jail facing a potential death sentence. While
in prison, Roxie is reunited with Velma, and after witnessing how the stage
star uses her notoriety to boost her career becomes determined to capitalize
upon her own infamy. When both women enlist the services of slick defense
attorney Billy Flynn (Richard Gere), the stage is set for a toe-tapping rivalry
that is truly to die for.

Although Chicago
marks Roxie and Velma’s fourth incarnation after a previous stage play, a silent
drama, and a heavily sanitized 1940’s drama, the film manages to approach its
story with a wit and nuance that makes the tale startlingly fresh. Rather than
employ the stage technique of having characters spontaneously break out into
song, director Rob Marshall cleverly presents all the musical numbers as part
of an elaborate fantasy in Roxie’s warped imagination. This technique avoids becoming
pretentious by highlighting the outrageousness of both Roxie’s perspective and
the whirlwind events surrounding her, while smoothing the transition between
story and song. Written by famed stage team Fred Ebb and John Kander the show
maintains the musical style and dark sensibility of the duo’s earlier effort, Cabaret, but utilizes a knowing wit and
darkly comic approach that ensure the film never becomes outright bleak.

The film manages to pay apt tribute to the story’s
stage roots, while still creating a cohesive and fast paced drama. The majority of the stage musical’s songs are
all present, and maintain their distinctive vaudeville vibe and jazzy edge. The
group numbers are appropriately dazzling as the songs play upon the
overwhelming atmosphere of a crowded courtroom and the dizzying spectacle of a
press conference, while the solo numbers contain an intimacy and poignancy that
infuse the film with its emotional core. Rather than merely casting singers
known for their musical ability, Marshall wisely chose stars who could aptly
embody the characters while still performing their roles. As a result, the
songs, while crucial, are just one more element in the wider tapestry of the
film, as the plot remains front and center and the film avoids falling into the
common musical trap of using the plot as a mere excuse for the music. As a
result the film appeals equally to both musical theater buffs and moviegoers
alike.

Never turn your back on an angry showgirl

The film successfully brings the stage shenanigans of
Roxie, Velma, and company to roaring life through the uniformly stellar
performances of its cast. Renee Zellwegger provides a fresh take on Roxie, as
she manages to imbue her homicidal housewife with a girl next door charm that could
win over even the most hardened jury. Catherine Zeta-Jones is a force of nature
in her role as nightclub sensation turned notorious killer Velma, and adds
depth and nuance to her portrayal of Velma’s desperate efforts to hold onto her
career in the notoriously fickle limelight. Queen Latifah is equal parts sassy
and sultry in her role as loveably corrupt prison matron, ‘Mama’ Morton.
Richard Gere turns on the charm as the quick witted lawyer, Billy Flynn. John C
Reilly makes the most of his limited screen time as Roxie’s betrayed husband
and makes Amos a three dimensional character, rather than the befuddled dupe he
is often portrayed as on stage. Christine Baranski lends an appropriately
cynical turn as ‘sob sister’ columnist Mary Sunshine. While the majority of the
cast are better known for their acting than their singing, each provides a
performance that is nothing short of infectious as they sing, dance, and act
with equal aplomb in the tradition of Hollywood’s legendary Golden Age
triple-threats.

From stage to
screen 2002’s Chicago is never less
than chic. Through its razor-blade sharp wit and toe-tapping tunes the film is
guilty as charged of breathing fresh life into the movie musical. Through its
biting social commentary the film tells a story that is eerily relevant despite
remaining firmly within historical context, all while putting on a show with
more than its fair share of razzle dazzle. For a take on the classic movie
musical with a modern edge take a tour of Chicago.